R48G: the poetry of revolution and the poetry of history and the eonic effect

From the Prologue to The Crisis of Modernity, on the poetry of revolution to use Marx’s phrase.

The Poetry of The Eonic Effect
As we explore the eonic effect, a macro interpretation of the Axial Age, we make a prodigious discovery: the correlated emergence of an immense amount of creative action in the periods of ‘transition’. And this is especially visible in the Greek Axial Age. As ‘macro-revolutions’ then these eras of the poety of eonic transformation, de facto revolutions, are especially telling in the context of figures like Marx/Engels emerging from the the period of 1848. What did Marx mean by the ‘poetry of revolution’.
In this context the poetry of the eonic shows a spectacular and elusive double correlation with the tragic genre, Greek and modern. WHEE (World history and the Eonic Effect) discusses this in two places, chapter five and the last section of chapter six, ‘Amlothi’s Mill’.
The question for the left then is, how in the wake of the modern transition can a movement generate a floating fourth turning point, and this cascading a whole spectrum of social effects, including social movements clustering art sequences. In a nutshell could a revolution from the left create a tragic theatre in the context of socialism. The question explodes to a still larger one: can man take control of his own evolution? Can man generate macro sequences on the scale of the eonic effect? What technology could do this?
The idea of hyparxis from Bennett, despite its shadow region science, suggests a project of this nature must operate from the level of the hyparxic future, and this is suggested to have been relevant to the history of Christianity.